Movie Reviews Only

It's Brewer's show all the way, and she paints Alice as a fun flirt, with a co-ed vibe that's designed to attract her clients - a persona she determinedly projects and protects.&dash; Austin Chronicle - EDIT

There are also moments to make historians wince, most especially a third-act chronology that egregiously conflates details of Loudoun Hill with the Battle of Bannockburn seven years later. But Outlaw King gets far more right than it ever gets wrong. &dash; Austin Chronicle - EDIT

Queen enthusiasts will probably choke on some of the egregious sins against chronology and raw facts committed to cram the real story into the format. However, where the script succeeds is in the most complicated part of Mercury: his approach to love.&dash; Austin Chronicle - EDIT

What's most impressive is that Yamada gives delicate life to a wafer-thin story of two friends drifting apart. Without ever feeling choppy or over edited, the shots are composed in microscopic detail.&dash; Austin Chronicle - EDIT

Even with endless biographical facts, he remains an enigma. Maybe that's why that third act is the most successful: Bogdanovich highlights the work, rather than the man, and that alone is a master class worth taking.&dash; Austin Chronicle - EDIT

In Tina, she has crafted a central character that's easy to appreciate, and often fascinating, but hard to like, and equally often deliberately off-putting. Which is also a fair description of Border.&dash; Austin Chronicle - EDIT

Green manages something that is both a tribute to and an evolution of the 1978 classic, with moments designed to create resonances that are not just re-enactment but part of his bigger theme of trauma-causing scars.&dash; Austin Chronicle - EDIT

At first glimpse, neo-slasher Ruin Me seems to be running face-first into the razorblade traps of postmodern spoof. Yet that glib and well-worn trope is just a mask to hide a more incisive kind of fright.&dash; Austin Chronicle - EDIT

With more intimate documentaries like Kate Plays Christine and Kati With an I, director Robert Greene has always found space for enigma in motivation, in a lack of resolution: Bisbee '17 cannot afford such space. &dash; Austin Chronicle - EDIT

It's no Metalocalypse (pretty much the only metal comedy to completely break the rules), and there are no new classic anthems here, but if you want to bang your head to a very familiar beat, Heavy Trip is a solid cover version.&dash; Austin Chronicle - EDIT

The spoof is perfection, down to obsessive details of set dressing - again, the result of Green and his fellow proud nerds...Robot Chicken: Star Wars is certain to keep that inner problem child happy.&dash; Austin Chronicle - EDIT

Successfully taking on all these issues as parts of the same hideous whole, Assassination Nation works best when it is broad and sharp, but is at its weakest when it is too on the nose. &dash; Austin Chronicle - EDIT

The Apparition undoubtedly has timely points to make about the survival of medieval beliefs in a post-Enlightenment world, but sadly does not tell them in a timely fashion.&dash; Austin Chronicle - EDIT

Yet while it's refreshing to see teen lycanthropy handled as something other than a metaphor for sexual awakening, Good Manners dawdles on its way to a surprisingly predictable and unearned resolution.&dash; Austin Chronicle - EDIT

When Tyrnauer concentrates on the life of consensual pleasure - often told with Bowers' salty tongue from his giggly recollections - then Scotty is more fun than a sock hop.&dash; Austin Chronicle - EDIT

The Third Murder is at its best in its understated moments... [are] about rehabilitation and the death penalty. That's why the piano score by Ludovico Einaudi never quite meshes, sometimes teetering over the line into melodramatic.&dash; Austin Chronicle - EDIT

It all hangs from a pitch-perfect performance by McGregor, who does as much to breathe life into his old friends as anyone. He believes that the silly old bear is right there, and so will you.&dash; Austin Chronicle - EDIT

Schwentke isn't simply talking about the sins of Nazism. There's an immediate and visceral resonance to the idea that a uniform - the right uniform - is a license to inhumanity.&dash; Austin Chronicle - EDIT

Funny, vibrant, insightful, tragic, achingly timely, and yet with an underlying message about empathy that is timeless, Blindspotting may be the summer's most essential movie.&dash; Austin Chronicle - EDIT

Rudd remains the heart and soul by stepping back and letting everyone else fill the room. He's one of the great modern straight men, but when he lets rip... it's a quick-witted back-and-forth that's easily as funny as a drumming ant. &dash; Austin Chronicle - EDIT

It's the one in least denial that makes the greatest attempt to remember that mountains care not, even as we obsess about them. These are, as Dafoe so perfectly explains, places of terrible joys and dreadful splendors.&dash; Austin Chronicle - EDIT

On Chesil Beach communicates all this miscommunication perfectly, capturing precisely the time and the culture, and most especially the era's tightly wrapped attitudes to sexuality.&dash; Austin Chronicle - EDIT

Enthralling and effortlessly relevant, Birdboy is a searing contemporary fantasy, and often unrelenting in its savage attacks on greed, acquisitiveness, the disposable society, and some not-so-subtle jabs at Spanish Catholicism.&dash; Austin Chronicle - EDIT

There's no heavy lifting to be done here, just have fun with the material. And yet fun is oddly lacking...There's nothing terrible about Solo. It can be spectacular, it can be charming, but it lacks sparkle.&dash; Austin Chronicle - EDIT